DISC THREE – 70.12The Best Of The Twickenham Sessions Part ThreeThe sometimes miserable Twickenham sessions reached their high point, both in terms of general mood and performance quality, on January 8th and 9th . The new songs were really starting to come into focus, as some very lively performances on this disc (tracks 3 through 5, 8, 12 and 13 for example) attest. Paul in particular is flowing with enthusiasm through out these performances from his spirited "Good morning" in the middle of "I’ve Got a Feeling" (track 5) to his frantic shouts that end a charged, early version of "Get Back" (track 18).

02 – Stand By Me (2.06) – 8.7Roll 71A – Paul sings most of this song in a mock operatic voice. The refrain reminds him or "Figaro, Figaro, Figaro" from Rossini’s comic opera The Barber of Seville and he breaks into this several times.

03 – Two of Us (3.12) – 8.11Roll 71A – Except for a botched beginning this performance is lively and fun, particularly because it’s played at a faster tempo than usual. An abridged version of this performance can be seen in the film Let It Be.

04 – Don't Let Me Down (3.10) – 8.14Roll 71A – John counts in for George’s introduction, and screams wildly after the first line. Despite occasional lapses in John’s recall of the lyrics, The Beatles turn in a fine performance.

05 – I've Got a Feeling (3.28) – 8.15Roll 71A – A very strong, virtually complete performance. The Beatles’ spirits are up, especially Paul, who shouts exuberantly after completing the middle eight. This performance was used in the film Let It Be.

06 – "Queen Says No to Pot–Smoking F.B.I. Members" (0.09)Roll 72A – John is referring to a newspaper story concerning penalties for marijuana use.

07 – Mean Mr. Mustard (1.51) – 8.31Roll 74A – John plays piano and takes lead vocal on this performance. The song is unfinished, as John has written two verses but only a rudimentary chorus.

08 – All Things Must Pass (3.11) – 8.33Roll 74A – This is a complete performance, although John doesn’t play piano much better than he plays organ. John and Paul sing harmony behind George.

09 – Fools Like Me (2.09) – 8.34Roll 74A – John breaks into this country number. The full band joins in one by one behind him and George sings along and provides a well played guitar solo.

10 – You Win Again (0.55) – 8.35Roll 74A – John leads another country song from Jerry Lee Lewis, singing in a nasal twang reminiscent of the song’s author Hank Williams.

11 – She Came in Through the Bathroom Window (2.50) – 8.NEWRoll 75A – Run through.

12 – Maxwell's Silver Hammer (3.39) – 8.NEWRoll 77A – Run through.

13 – I Me Mine (1.23) – 8.63Roll 83A – The band minus John (who waltzes with Yoko) runs through a complete performance. The musicianship is exceptionally tight for a brand new song.

Thursday, January 914 – For You Blue (2.02) – 9.20Roll 90A – The band plays a fruity, disjointed version in which George extemporizes lyrics.

15 – Two of Us (2.57) – 9.25Roll 91A – A complete up–tempo performance, which features an unusual guitar accentuation of the galloping riff. George provides a pleasant harmony vocal, and this performance is enjoyable despite the sloppy guitar work.

16 – "Suzy's Parlour" (2.06) – 9.31Roll 92A – John takes a nasal lead vocal as he kicks off this slightly off–color, up–tempo song. An edited version of this performance can be seen in the film Let It Be.

17 – I've Got a Feeling (3.53) –9.57Roll 92A – A complete and quite good run through. John sings a variant lyric about getting a face lift. This performance was used in the film Let It Be.

18 – Get Back (3.54) – 9.57Roll 97A – A hard and loud run–through. Pakistanis and Puerto Ricans have now been joined in the lyrics by Mohicans.

19 – Across The Universe (3.22) – 9.79Roll 98A? – A complete performance. John and Paul harmonize well, although Ringo’s overbearing drums are hardly appropriate to the contemplative nature of the song.

20 – Move It (0.54) – 9.72Roll 98A? – John takes lead vocal on this cover of a Cliff Richards rocker, though his recollection of the lyrics is spotty.

21 – Good Rockin' Tonight (0.51) – 9.73Roll 98A? – John takes lead on another oldie, with occasional help from Paul. The musicianship is fine, but John and Paul’s recollection of the lyrics is sporadic.

22 – Tennessee (2.02) – 9.74Roll 98A? – A pleasant cover of this oldie. John, Gorge, and Paul all share the vocals, with George having the best recollection of the lyrics.

23 – House of the Rising Sun (2.39) – 9.76Roll 9A – John starts off singing this traditional blues number and Paul joins in, and they have a fine time moaning and shooting their way though the song.

24 – "Commonwealth" (3.36) – 9.77Roll 99A – Paul begins to improvise this enjoyable rock and roll song. A hyperactivity of John offers response vocals, and even helps with the words at one point.

25 – "Get Off" (5.59) – 9.7926 – For You Blue (0.49) – 9.8027 – "Get Off" (0.52) – 9.81edit of rolls 98A/10B/100A– John and Paul turn a standard twelve bar blues lead by George into another political improvisation.

28 – Honey Hush (2.11) – 9.82Roll 100A – John and Paul share lead vocals on this fine performance. Unfortunately, they only seem to know one verse.

29 – For You Blue (2.08) – 9.84Roll 100A – A fairly tight run– through, with George singing the first verse and part of another. Although the lyrics aren’t finished, the musicianship is quite passable.

DISC FOUR – 68.16The Best Of The Twickenham Sessions Part FourGeorge’s abrupt departure from the group on January 10th highlights this disc. While the master tape unfortunately cuts out a split second after George announces that he’s leaving the band (did a Beatle or Beatle assistant quickly get their finger on the stop button?), for the very first time we can actually hear George’s footsteps as he walks away from the group. Note the incredibly off–the–wall performances that follow George’s exit (tracks 12 through 20). Also new here is a rollicking attempt at "Get Back" by the George–less Threetles, and a longer, complete look at the premiere of Paul’s "The Back Seat of My Car".

January 9 (continued)01 – "Ramblin' Woman" (2.05) – 9.85Roll 101A – George begins a string of solo acoustic performances. He’s enjoying himself and laughing as he plays the guitar.

02 – I Threw It All Away (2.07) – 9.86Roll 101A – George moves right into this Dylan song as someone taps along in the background. While he knows the song’s middle eight very well, he struggles with the verses.

04 – That'll Be The Day (1.03) – 9.92Roll 103A? – Paul picks up some riffs from John and begins a laid back performance of this song. Ringo and George don’t participate.

05 – Jenny, Jenny / Slippin' And Slidin' (2.04) – 9.94Roll 103A? – Once again John’s guitar riffs lead Paul into a performance. As the song progresses, first Ringo the George join back in.

06 – Let It Be (2.39) – 9.97Roll 106A – A complete run–through.

Friday. January 10th07 – Hi Heel Sneakers (2.03) – 10.408 – Hi Heel Sneakers (0.49) – 10.5edit of Rolls 112A / 113A – John and Paul share the lead vocal on a lively performance of this oldie. George provides capable guitar backing, and the whole band is clearly familiar with the song.

09 – Get Back (2.05) – 10.3Roll 114A – The Beatles turn in this rollicking performance. The only major mistake is John’s, as he starts to sing the verse about Jo Jo instead of the new verse.

10 – Two Of Us (2.02) – 10.2Roll 115A – An energetic, if incomplete performance. The Beatles seems to have the song pretty much down, but during the second middle eight the performance breaks down.

11 – I'm Talking About You (1.19) – 10.6Roll? – George calmly announces he is leaving The Beatles immediately.

18 – The Peanut Vendor (0.20) – 10.18Roll 118A – John offers this brief reprise as he begins to play the same rhythm in a different key. Paul and Ringo join in as John croons "Brazil".

19 – It's Only Make Believe (2.44) – 10.19Roll 118A – John leads the band into this Conway Twitty hit. John manages to do quite well for the first verse. Paul chimes in and takes over the lead vocal. The performance degenerates into buffoonery.

20– "Through a London Window" (1.08) – 10.20Roll 118A – Paul’s falsetto rendition of this song. John and Ringo back him with simple instrumentation.

Monday, January 1321 – Get Back (2.42) – 13.NEWRoll 134A – A run–through by the three remaining Beatles.

22 – Get Back (2.43) – 13.12Roll 134A – An attempt to play the song straight though but the performance is a disaster. John isn’t sure what to sing, or when, and Ringo doesn’t know when to sneak in his drum fills.

23 – (Improvisation) (1.20) – 14.10Roll 138A – Paul and Ringo begin a boogie–woogie piano duet. An edited version of this performance ended up in the film Let It Be.

24 – The Back Seat of My Car (4.12) – 14.1925 – The Back Seat of My Car (0.42) – 14.20edit of Rolls 138A / 121B / 139A – Paul unveils another work in progress on piano. The lyrics are unfinished, but the tune is pretty and shows obvious promise.

26 – "Song of Love" (2.32) – 14.2227 – "Song of Love" (1.04) – 14.23Roll 139A – Paul plays a complete version of this sentimental love ballad, once again accompanying himself on piano.

28 – Hello, Dolly (1.30) – 14.25Roll 139A – Paul delivers a surprisingly straight version of this famous show tune. Ringo taps out the song’s rhythm on his tea cup as Paul plays piano.

29 – "Madman" (3.17) – 14.27Roll 145A – John is on electric piano and leads Paul and Ringo through many mostly identical verses of his composition.